Ricardo Exhibition Folio 2007, 'Herd'
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GEOFFREY RICARDO GEO FFR E Y R ICARDO Theodore’s long shot 2006 patinated copper 18 x 371 x 5 cm Side by side 2006 patinated copper 57.5 x 138 x 4 cm Longer truths, longer lies (side view of front cover image) 2007 painted copper and stainless steel 254 x 370 x 250 cm Trophy – the grand spiral 2006 p a t i n a t e d c o p p e r 1 8 4 x 9 3 x 7 7 c m The self realiser 2007 patinated copper 35.5 x 136 x 3.5 cm Left to right 2007 patinated copper 39 x 341 x 5.5 cm Mice and men 2 0 0 7 i n t a g l i o p r i n t e d i t i o n 4 0 1 4 . 5 x 2 1 c m Where minds meet 2 0 0 7 i n t a g l i o p r i n t e d i t i o n 4 0 1 4 . 5 x 2 1 c m Theodore’s theorem 2 0 0 6 i n t a g l i o p r i n t e d i t i o n 7 2 5 6 . 5 x 4 3 c m Front cover: Longer truths, longer lies 2007 painted copper and stainless steel 254 x 370 x 250 cm Design: Suzy Ditterich, Australian Galleries Publishing Photography: Geoffrey Ricardo and Viki Petherbridge HERD Catalogue published by Australian Galleries and Geoffrey Ricardo, May 2007 A USTRALIAN G ALLERIES SYDneY PAINTING AND SCULPTURE SYDNEY MELBOURNE PAINTING & SCULPTURE WORKS ON PAPER PAINTING & SCULPTURE WORKS ON PAPER ARCHIVe•DESIGn•PUBLICATION 15 ROYLSTOn STReeT [PO BOX 282] 24 GLenMORe ROAD [PO BOX 282] 35 DeRBY STReeT [PO BOX 1183] 50 SMITH STReeT [PO BOX 1183] BASeMenT•50 SMITH STReeT [PO BOX 1183] 15 MAY – 2 JUne 2007 PADDINGTOn•NSW•2021 PADDINGTOn•NSW•2021 COLLINGWOOD• VIC•3066 COLLINGWOOD•VIC•3066 COLLINGWOOD• VIC•3066 T +61 [0]2 9360 5177 T +61 [0]2 9380 8744 T +61 [0]3 9417 4303 T +61 [0]3 9417 0800 T +61 [0]3 8415 1524 F +61 [0]2 9360 2361 F +61 [0]2 9380 8755 F +61 [0]3 9419 7769 F +61 [0]3 9417 0699 F +61 [0]3 8415 1526 Chinese whispers 2 0 0 7 p a i n t e d c o p p e r 3 7 x 1 1 9 x 3 3 c m E [email protected] W www.australiangalleries.com.au MEMBER OF AUSTRALIAN COMMERCIAL GALLERIES ASSOCIATION INCORPORATED AUSTRALIAN G ALLERIES GEOFFREY RICARDO HERD in a related etching from a series of works on paper also included in this exhibition. The nuggety bronze Elephant obscurer, with its coarse organic texture, depicts the human element unable to observe the world through the eyes of the elephant. In Left to right, and The self realiser, the extended barrel of a hunter’s gun is the expressive component – creating a new context for the weapon and a further dimension to the elephant theme. The barrels resemble elephant trunks as they Where minds meet 2 0 0 7 b r o n z e 6 . 5 x 2 0 . 5 x 7 c m curl back upon themselves and are self-defeatingly aligned. The series of wall-mounted trophies makes macabre reference to the hunt and A CHeCKeReD HISTORY the hunted. elephants here are not inanimate or deceased animals; bizarrely, “In the not too distant future many animals could be extinct, and the only thing left they are living aesthetic mask-like forms and symbolic representations based for humans will be to dress up as animals of our choice.” I upon the cranium of an elephant - a sad indictment on man’s need to capture the spirit and freedom of his conquests, in a grotesque display of superiority. Geoffrey Ricardo’s recent works comment on the sad results of man’s drive to dominate nature. Developing upon imagery of freestanding human figures In essence, Geoffrey Ricardo is paying homage to the inherent beauty and wearing elephant costumes like trophy heads, their crude and mocking humour structure of the elephant within many surreal variations. Is it a proud rather than and a lurking sinister message warns of boundaries being pushed too far. pathetic celebration of the animal – or perhaps a sad remnant? Ricardo yearns for the majesty of what has been destroyed in the process, and mourns the risk of destruction. As viewers, we are left with pathos, and its urgent message. Caroline Field April 2007 These potent works are a reminder of our primordial roots, and are a statement of the human condition. They embody a desire for an imaginative I Geoffrey Ricardo, Artist’s statement, March 2007 and responsible dialogue with our environment and its co-inhabitants. Sadly it II Geoffrey Ricardo, Artist’s statement, March 2007 Elephant obscurer 2 0 0 7 b r o n z e e d i t i o n 1 0 1 8 x 1 6 x 1 8 c m acknowledges that what remains is a travesty of dignity and power. It is surely a wry comment that the men depicted by Ricardo, who feel the need to reconstruct their victim, are so much smaller than it. BIOGRAPHICAL NOTES Whilst previous imagery included depictions of crossbred kangaroos and emus Born 1964, Melbourne, Victoria with human limbs attached, Ricardo has now centred his focus on the regal Trophy – sight 2006 Trophy – leftsided rightside 2006 Trophy – coil 2006 splendour of the elephant. The elephant evokes awe, and its seemingly docile 1989-90 Graduate Diploma (Fine Art), Printmaking, Monash University patinated copper 133 x 20 x 49 cm painted copper 150 x 65 x 88 cm p a t i n a t e d c o p p e r 1 0 0 x 5 2 x 6 4 c m nature, graceful movements and doleful eyes have always fascinated mankind. 1987-89 Printing Assistant at Bill Young Studios, editioning intaglio prints They are much loved and revered creatures and constitute an appealing visual 1988 Full-time Studio Technician at Printmaking Department, device for Ricardo, allowing him to develop his theme of elephants which have Chisholm Institute of Technology been unwillingly co-opted to serve man. 1984-86 Bachelor of Art (Fine Art), Printmaking, Chisholm Institute of Technology In stark contrast to India’s caparisoned elephants, however, we see none of that beauty. The tawdry gingham armoury presents only pathos and a reference to SOLO EXHIBITIONS pedestrian domesticity. To Ricardo, red and white check squares serve as a flagging, warning mechanism. 2004 ‘Recent work’, BMG Art, Adelaide Forward backward 2 0 0 7 p a i n t e d c o p p e r 4 1 x 4 1 x 8 5 c m 2003 ‘The Rapunzel Suite and Other new Works’, Australian In his work Longer truths, longer lies, Ricardo’s use of a copper costume as a Galleries Works on Paper, Sydney gingham cloth covering what appears to be a life-size battle-weary elephant, ‘Recent works’, Australian Galleries, Melbourne reveals itself to be two men in an elephant suit. The suit is constructed of ‘Recent works’, Cowwarr Art Space, Cowwarr patinated copper sheets, covering a stainless steel armature. In Ricardo’s 2002 ‘The Rapunzel Suite’, Australian Galleries Works on words: “The legs of the animal are human, revealing the deception and the Paper, Melbourne pretence taking place. The two figures dressed as an animal almost get away ‘Strange Games’, Australian Galleries Works on Paper, with their lie.” II The work examines in an absurdist yet poignant way the effect Sydney humans have on elephants – the elephant foot-umbrella stand, drives home 1999 ‘A Dark City narrative’, Australian Galleries, Sydney the creature’s humiliation. ‘A Dark City narrative’, Australian Galleries, Melbourne 1998 Cullity Gallery, School of Architecture and Fine Art, The pantomime continues in other related copper sculptures. Chinese whispers, University on a smaller scale, introduces the polarity of two elephants conversing. They are 1997 Delaney Gallery, Perth almost symmetrical and are movingly attached to one another, within a linear Chapman Gallery, Canberra sequence. In contrast to this tender image, in Forward backward the conjoined BMG Art, Adelaide elephants are arranged in an opposing sequence with proud protruding tusks. Australian Galleries, Sydney Their monochromatic decoration – black versus white - is at deliberate odds, Australian Galleries, Melbourne threatening to pull asunder the entity and reveal the concealed hoax: one 1995 Australian Galleries, Sydney pair of legs firmly planted, while its counterpart is determinedly striding in the Australian Galleries, Melbourne opposite direction. The power of opposites, temporarily set in balance. 1994 University of W.A. of Western Australia Grahame Galleries and editions, Brisbane The enigmatic work Where minds meet initially appears to be a humorous ‘Wishful Thinking’, Prints and Sculptures, The Lawrence standoff between man masquerading as mouse, and man masquerading as Wilson Art Gallery, elephant. The stance suggests mouse goading elephant. This is also articulated 1992 ‘Prints, sculptures and watercolours’, Australian Elephant gingham 2 0 0 2 i n t a g l i o p r i n t e d i t i o n 7 5 3 0 x 3 8 c m Trophy – long red white 2 0 0 7 p a i n t e d c o p p e r 2 1 2 x 4 3 x 2 0 c m Galleries, Melbourne and Sydney Longer truths, longer lies 2 0 0 6 i n t a g l i o p r i n t e d i t i o n 2 0 5 9 .